Children’s Writers’ & Artists’ Yearbook 2022

By Bloomsbury Publishing

Foreword by M. G. Leonard: 'It's rare to find a book that's as useful as it is inspiring ... essential reading.'

The indispensable guide to writing for children and young adults, this Yearbook provides inspirational articles from successful writers and illustrators, as well as details on who to contact across the media. It provides practical advice on all stages of the writing process from getting started, writing for different markets and genres, through to submission to literary agents and publishers as well as on the financial and legal aspects of being a writer. Widely recognised as the essential support for authors and illustrators working across all forms: fiction, non-fiction, poetry, screen and theatre, it is equally relevant to those wishing to self-publish as well as those seeking a traditional publisher-agent deal.

New articles for 2022:
Christopher Edge Plotting and pace in your middle-grade adventure
L. D. Lapinski World-building in your fantasy fiction
Anna Wilson Finding your voice and point of view
Rachel Bladon The learning curve: writing for the children's educational market
Jenny Bowman How to hire a freelance editor
Sophie Clarke The life and works of a literary scout
Rachel Rooney Writing poetry for children

• Language: English
• Publisher: Bloomsbury Publishing
• Release date: Jul 22, 2021
• ISBN: 9781472982841

Book preview

Other Writers’ & Artists’ title

Writers’ & Artists’ Guides to . . . Series

The best advice on how to write and get published

Writing for Children and YA by Linda Strachan

Getting Published by Alysoun Owen

How to Hook an Agent by James Rennoldson

How to Write by William Ryan

Self-publishing by a team of self-publishing experts

The Organised Writer: How to stay on top of all your projects and never miss a deadline by Antony Johnston

‘Antony has uncovered a secret I wish I’d learned twenty years ago; writing benefits way less from inspiration than from sound process.’

Merlin Mann

‘I’m a messy-brained writer. The Organised Writer helped me to tidy-up, and improved my working life on a daily basis.’

Kieron Gillen

NEW in July 2021

Writers’ & Artists’ Yearbook 2022

‘...the first place I turned to’ Peter James

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About the Yearbook

The Editor welcomes readers to this edition of the Children’s Writers’ & Artists’ Yearbook.

In the opening to this year’s Foreword, M. G. Leonard writes that for her the prospect of becoming a published author seemed very much out of reach: ‘as daunting as climbing Mount Everest’. But, as she goes on to describe and as her bestselling books attest, she did reach the summit. Her words and those of the other writers who have contributed to the 70-plus articles in this book should prove that, although there are challenges, it is possible to find an audience for your writing. This Yearbook is here to be your Sherpa. It exists to share experiences, advice and support with writers for children and teens across all ages, genres and formats. In addition, it provides up-to-date contact details for thousands of individuals across organisations and companies in the media industries who might help you as you develop your writing and start to seek representation from a literary or illustration agent, or as you explore ways to get your work noticed.

New articles this year span a wide range of forms and markets, from Writing poetry for children by Rachel Rooney to The learning curve: writing for the children’s educational market by Rachel Bladon. If you are writing fiction, take a look at Anna Wilson’s piece on Finding your voice and point of view for advice on which voice to adopt in your narrative (first, second or third person?). Award-winning novelist Christopher Edge’s Plotting and pace in your middle-grade adventure and World-building in your fantasy fiction by L.D. Lapinski also offer inspirational insights. If you are keen to self-publish your book, Jenny Bowman recommends that you select an editor to help you: see How to hire a freelance editor. Sophie Clarke introduces us to The life and works of a literary scout, while in the Money, tax and benefits section and in Copyright and contracts onwards, you will find brand-new pieces on the financial and legal aspects of the writing life.

Whether you are just starting out as a writer, whether you want to develop your work in new directions or are looking to consolidate your knowledge, whether you are keen to research the most appropriate agent or publisher to submit your work to, or to discover how to write for stage, screen or magazines – there’s sure to be something between these pages for you.

Alysoun Owen, Editor

⚠ During the preparation of this Yearbook, the impacts of the 2020–21 coronavirus were still being felt. Some of the articles allude to this. The lockdowns and associated social distancing and uncertainties have necessarily impacted on live events such as literary festivals, award ceremonies, poetry and theatre performances, face-to-face creative writing courses, and much more besides. We have included updated listings for these as we do every year in consultation with the companies and organisations themselves, though are aware that many will not be going ahead in their current form. Some of the information in this year’s Yearbook will be subject to greater change than usual as a result.

Contents

About the Yearbook

More than a book

Foreword – M. G. Leonard

Books

Publishing advice

Spotting talent – Barry Cunningham

Breaking down the market: where does your book sit? – Jasmine Richards

What are children’s publishers looking for? – Rebecca Hill

Listings

Children’s book publishers UK and Ireland

Children’s book publishers overseas

Children’s audio publishers

Children’s book packagers

Children’s bookshops

Books, sites and blogs about children’s books

Inspiring writers

Making a writer – Sarah Crossan

Finding your voice and point of view – Anna Wilson

Notes from a Children’s Laureate – Anthony Browne

Notes from Jacqueline Wilson – Jacqueline Wilson

A word from J. K. Rowling – J. K. Rowling

If at first you don’t succeed... – Frances Hardinge

Parent your inner child: what kind of writer are you? – Lucy van Smit

How stories shape you as a writer – Patrice Lawrence

My way into a different world – Sally Green

How do you do it? – William Sutcliffe

A jobbing writer’s lot – Joanna Nadin

Writing and translating children’s fiction – Clémentine Beauvais

Who do children’s authors write for? – Michael Rosen

Writing for different genres and markets

Writing books to read aloud – Anne Fine

Finding new readers and markets – Tom Palmer

The learning curve: writing for the children’s educational market – Rachel Bladon

Writing adventures in the real world: children’s non-fiction – Isabel Thomas

Overnight success – Lauren St John

Keeping going: the ups and downs of being a published writer – Theresa Tomlinson

How to write a picture book – Tessa Strickland

Writing short stories for children – Julia Green

Writing ghostly stories – Cornelia Funke

Writing magic into fiction – Kiran Millwood Hargrave

Reinventing old stories for new readers – Deirdre Sullivan

Plotting: how to keep your YA readers reading – Sarah Mussi

Writing historical novels – Michelle Paver

Writing for teenagers – Holly Smale

Plotting and pace in your middle-grade adventure – Christopher Edge

Writing mystery and adventure stories – H. L. Dennis

World-building in your fantasy fiction – L. D. Lapinski

Writing thrillers for teenagers – Sophie McKenzie

Dealing with tough issues in YA fiction – Holly Bourne

Writing about love and loss for children – Natasha Farrant

Including LGBT+ characters in children’s fiction – Lauren James

Series fiction: writing as part of a team – Lucy Courtenay

The long and winding road to publication – Paul Stewart

Murderous inventions – Robin Stevens

Self-publishing

From self-publishing to contract – Janey Louise Jones

An indie’s journey to award-winning success – Griselda Heppel

What do self-publishing providers offer? – Jeremy Thompson

How to hire a freelance editor – Jenny Bowman

The hybrid author: you can do it all – your way! – Shelli R. Johannes

Listings

Editorial services and self-publishing providers

Poetry

Writing poetry for children – Rachel Rooney

Flying the poetry flag – John Foster

An interview with my shadow – Brian Patten

Listings

Poetry organisations

Literary agents

What do agents do for their commission? – Julia Churchill

Submission to a literary agent (the when, whatand how…) – Hannah Sheppard

Choosing the right agent – Gill McLay

A message for under-represented writers: We Want You – Davinia Andrew-Lynch

The life and works of a literary scout – Sophie Clarke

Do you have to have an agent to succeed? – Philip Ardagh

Listings

Children’s literary agents UK and Ireland

Children’s literary agents overseas

Illustration

Notes from a successful children’s author and illustrator – Lauren Child

The craft of the illustrator – Salvatore Rubbino

Being an illustrator and a writer – Liz Pichon

Do judge a book by its cover – Thomas Taylor

How to create a graphic novel – Isabel Greenberg

Notes from the first Children’s Laureate – Quentin Blake

Eight great tips to get your picture book published – Tony Ross

Listings

Illustrators’ agents

Magazines and newspapers

Writing for the teenage market – Michelle Garnett

Creating a children’s comic – Tom Fickling

Listings

Magazines and newspapers for children

Magazines about children’s literature and education

Screen and audio

Adapting children’s books for stage and screen – Emma Reeves

Children’s literature on radio, podcast and audio – Neville Teller

Writing for visual broadcast media – Jayne Kirkham

Writing to a brief – Di Redmond

Listings

Children’s television and radio

Theatre

Writing for children’s theatre – David Wood

Adapting books for the stage – Stephen Briggs

Listings

Theatre for children

Societies, prizes and festivals

Society of Authors

WGGB (Writers’ Guild of Great Britain)

Alliance of Independent Authors

Society of Children’s Book Writers & Illustrators

Seven Stories – The National Centre for Children’s Books

The Children’s Book Circle

Federation of Children’s Book Groups

National Literacy Trust

Listings

Societies, associations and organisations

Children’s book and illustration prizes and awards

Prize winners

Opportunities for under-represented writers

Children’s literature festivals and trade fairs

Children’s writing courses and conferences

Publishing practice

Editing your work

ISBNs: what you need to know

Public Lending Right

Glossary of publishing terms

Copyright and contracts

Author–Publisher contracts

Copyright Licensing Agency Ltd

Authors’ Licensing and Collecting Society

DACS (Design and Artists Copyright Society)

Money, tax and benefits

Managing your finances: a guide for writers – Jonathan and Louise Ford

National Insurance contributions – Sarah Bradford

Index

Praise for the Yearbook

‘Takes the great advice that’s in this Yearbook.’

David Almond

‘[An] impressive raft of advice and notes on every aspect of the business.’

Quentin Blake

‘Riffle these pages and turn your dream into an ambition.’

Frank Cottrell Boyce

‘To find your way as a children’s author, CWAYB should be your first port of call.’

Sarah Crossan

‘Between the covers of this book is

everything you need to know to get published.’

Julia Donaldson

‘Contains a wealth of essays, articles and advice.’

Frances Hardinge

‘Stuffed full of useful facts to help you get writing (and drawing).’

Liz Pichon

‘Whenever people ask me about how to get their work for children

published ... the first words to come out of my mouth are always:

Children’s Writers’ & Artists’ Yearbook.’

Michael Rosen

‘A goldmine of invaluable information.’

Francesca Simon

‘Filled with practical and creative advice.’

William Sutcliffe

‘I wish you all the luck in the world. Don’t be a ninny like me, practically giving up at the first rejection.

Consult the excellent Children’s Writers’ & Artists’ Yearbook.’

Jacqueline Wilson

More than a book

The Writers & Artists website (www.writersandartists.co.uk) provides free content and support to writers.

You will find hundreds of articles on the writing and publishing process, regular writing competitions, and a community space to share your work or ask questions about the entire creative process. Features, such as being able to annotate and bookmark pages, can be accessed by creating your free user account. As a registered member of the Writers & Artists community, you will receive – straight to your dashboard – exclusive discounts on books, events and editing services and regular content to match your particular interests.

You can find details of our range of editing services as well as our writing courses and workshops (face-to-face and online), including Manuscript Submission Masterclasses and one-day How to Get Published events.

Our Listings subscription offers you access to the entire database of contacts in the latest edition of the Writers’ & Artists’ Yearbook and of this Yearbook, as well as hundreds of additional online-only entries.

Whatever your needs, we hope that Writers & Artists resources, whether delivered in an ebook, print, online or at our events, will provide you with the information, advice and inspiration you are looking for.

Short story competition

The annual Writers’ & Artists’ Yearbook Short Story Competition offers published and aspiring writers the chance to win a place on an Arvon residential writing course (worth £850). In addition, the winner’s story will be published on the Writers & Artists website.

To enter the competition, submit a short story (for adults) of no more than 2,000 words, on any theme by 11 February 2022 to [e-mail]. For full details, terms and conditions, and to find out more about how to submit your entry, visit www.writersandartists.co.uk/competitions.

You can find details of competitions for children’s writing under Children’s book and illustration prizes and awards.

runs creative writing courses and retreats from three writing houses in the UK, each in a beautiful rural location. Published writers lead week-long or short residential courses. Covering a diverse range of genres, from poetry and fiction to screenwriting and non-fiction, Arvon courses have provided inspiration to thousands of people at all stages of their writing lives. You can find out more and book a course online at www.arvon.org.

Foreword

M. G. Leonard

To me, the feat of becoming a published author was as daunting as climbing Mount Everest …people say they want to do it but the odds of getting to the top are slim and the probability of getting hurt is high. Few people try and even fewer succeed.

Stage One of my ascent was to have the idea for my book – and it crawled into my brain on six legs with an exoskeleton and two pairs of wings. My story was going to be about beetles, an ecological entomological adventure, and so I enthusiastically began researching the bugs – which I thought would take a couple of weeks but actually took six years, because there are over 400,000 known species of beetle and I hadn’t known that.

Stage Two was to write the book. During this time, I bought the Writers’ & Artists’ Yearbook and put it on a shelf beside my desk. I would flick through the pages inhaling the smell of an industry I longed to be a part of. Foolishly, I didn’t read it. Including false starts and real-life obstacles to creativity, like getting divorced and being a single working mum, it took me four years to complete a draft of my manuscript.

Finally, I was moving to Stage Three of the climb – getting an agent! I’d fantasised about finding my literary best friend, the Clyde to my Bonnie, who would belay for me on the toughest part of the ascent – submitting to publishers. But then I got the fear. What if I sent my book to every single agent in the Writers’ & Artists’ Yearbook and they all hated it? I would crash to earth, a failure (cue sad music). I chose procrastination as my avoidance technique: I took the Yearbook and went through every agent, putting the ones I thought looked good (all of them) into a spreadsheet; I typed out all their details into columns (there was absolutely no need to do this), including their submission preferences. Then one day I’d completed my long list of possible agents… there was nothing else I could do other than submit.

At this point, I must confess that I presumed my book about a 13-year-old boy and a sentient giant rhinoceros beetle was for adult readers. I have no defence for this other than I thought: I am an adult, the story came out of my brain, so it must be for adults. As you might guess from this assumption, I hadn’t got a clue about how the publishing industry worked. Despite spending a large percentage of my life in libraries and bookshops, I hadn’t considered the categories books are sorted into or where my story might fit amongst them. I hadn’t thought about what happened after you got an agent. I figured my agent would tell me that. This was an error.

I submitted to four agents on my list. Three rejected me with no feedback. I added a column to my spreadsheet in which to put insults about agents who rejected me. The fourth agent asked for the full manuscript and I sent all 120,000 words of it to them, only to receive a swift reply telling me my book was middle grade (I didn’t know what this meant) and that they only represented adult fiction and YA (I didn’t know what this meant either). They informed me a middle-grade debut shouldn’t exceed 60,000 words and politely suggested I do some market research and edit my book accordingly.

I fell to the ground with a sickening thud. But I’m not a quitter, and a year later, on maternity leave, I began submitting again. This time I’d bought a copy of the Children’s Writers’ & Artists’ Yearbook and focused my attention on understanding the rock face I was climbing. I read the whole book, cover to cover, learning about the business and drawing courage from author essays about their journey to publication. It’s rare to find a book that’s as useful as it is inspiring, but this book is essential reading for aspiring children’s authors. Equipped with new knowledge, I began my second ascent, able to see the hand- and footholds that others had used before me.

Once again, I submitted to four agents; once again, three of them rejected me. One said a book on beetles wouldn’t sell. Another was rude about my protagonist. I was rude about both of them in my spreadsheet. However, I took on board the agent’s concerns about my protagonist and revised my opening chapters. The fourth agent requested my full manuscript. I submitted my 60,000-word book, with a more likeable protagonist, and held my breath … Eventually, I was rewarded with a real-life phone call! Unfortunately, I had a six-month-old baby, so it went to voicemail.

I can still remember repeatedly listening to that voicemail. It was surreal, like getting a message from the other side. The agent said they liked my beetle book and that I could write, but that the manuscript needed work; it had a flabby fourth act and a problematic ending. They told me to call the Golden Egg Academy. This was not the news I’d been hoping for, but it was a crevice into which I could insert my fingers and heave myself a little further up the mountainside. At the Golden Egg Academy, I discovered I’d written a middle-grade book with a YA ending and got a lesson in story structure. I edited my book again. Finally, I had a manuscript fit for submission, and the Golden Egg Academy helped me find both my agent and my first publishing deal.

My journey to publication would have been easier and quicker if I’d read the Children’s Writers’ & Artists’ Yearbook before I began my epic climb, but I got here in the end. So, dear climber, put this book in your backpack and don’t just smell it, read it from cover to cover. Heed the advice you’re given, only be rude in spreadsheets, and don’t give up. See you at the top.

M. G. Leonard is the bestselling, award-winning writer of children’s books Beetle Boy (2016), Beetle Queen (2017) and Battle of the Beetles (2018), published by Chicken House, the Adventures on Trains series with Sam Sedgman (Macmillan Children’s 2020-22) and Twitch (Walker Books 2021). Her books have been translated into 40 languages and Beetle Boy is being developed as a live-action series for TV. Beetle Boy won the Branford Boase Award (2017), and was shortlisted for the Waterstones Children’s Book Award and longlisted for the Carnegie Medal. The Highland Falcon Thief (Macmillan Children’s 2020), the first in the Adventures on Trains series, won the Books Are My Bag Readers Award 2020 for Children’s Fiction and the Children’s Fiction Book of the Year 2021 in the British Book Awards.

Books

Spotting talent

Publishers and literary agents are not looking for what they like but for what children will like. Chicken House publisher Barry Cunningham famously accepted the manuscript of the first Harry Potter book which – as everyone knows – turned out to be the first of an international bestselling series. He explains here what he is looking for when he reads a new manuscript.

I’m a fan: I love reading and I love great stories. For many years I travelled with Penguin the length and breadth of the country – on tours with authors like Roald Dahl, to schools with the Puffin Book Club or to lonely writers’ festivals. It was during this time that I learnt the most important part of my trade – how children react to the books they love, the authors that they adore, and how they put up with the material that they are coerced into reading. Reluctant readers indeed!

At Chicken House, we love to celebrate new author – and discover new voices for young readers – through our Times/Chicken House Children’s Fiction Competition for unpublished writers. We’re on the lookout for original ideas, a fresh voice, a diverse range of entries and stories that children will love. More on this later.

First steps

All publishers get streams of brown envelopes – especially, like divorces, after Christmas or the summer holidays – when writers finally feel something must be done with that story they’ve been working on.

So, how do you get your manuscript read by a publisher? Firstly, find out what the publisher wants: A sample? The complete manuscript? Perhaps, like us, they only accept submissions through specific avenues – for us, it’s The Times/Chicken House Children’s Fiction Competition. For most editors, first on the reading list are the submissions from agents, manuscripts recommended by other authors or by someone whose judgement they trust. So, if you know someone who knows someone, use the contact.

Next, know a little about the list you are submitting to: look at their catalogue or read some of their books. Let publishers know how much you like their publications (we all like those sorts of comments!) and how you think your novel might sit with the rest of their titles.

Then, write a short snappy synopsis – a page will do (I’ve had some that are as long as half the novel itself!). It should tell the publisher what the book is about, its characters and why they should read it. Also include a little bit about you, the author. Don’t forget that. It can be almost as important as anything else in these days of marketing and personality promotion (no, you don’t have to have had an exciting job, but it does give an impetus to read on …).

I worked with a very famous editor in my first job who was talking one day about her regular advice to first-time writers. Her advice began with a simple question: ‘Have you thought of starting at Chapter 2?’ Strangely, I find myself repeating this regularly. Often I find the first chapter is tortured and difficult, before the writer relaxes into the flow of the story in Chapter 2. And often things improve if we start straight into the action, and come back and explain later. But more importantly, first novels often fail because the editor doesn’t get past a poor opening section. Beginnings are crucial, because I know children won’t persevere if the story has a poor start, either.

So what am I looking for?

Back to the heart of things … There are writers who know a lot about children – they might be teachers or parents – so does this mean they can write more relevantly for young people? There are authors who know nothing about modern children, don’t even really like children – does this mean they will never understand what a child wants? There are ‘crossover’ books that don’t appear to be for real children at all. There are books with children in them that aren’t children’s books. Confused?

To me it’s simple. Books that really work for children are written from a child’s perspective through an age-appropriate memory of how the author felt and dreamed and wondered. The best children’s writers carry that childhood wonder, its worry and concern, or even its fear and disappointment, around with them. They have kept the child within alive – so writing is not a professional task of storytelling for tiny tots but a simple glorious act of recreating the excitement of childhood.

That’s part one of what you need. Part two, in my view, is a concentration on your audience. I’ve worked with adult writers too and there is a difference here. Children’s authors are creating for a distinctly different readership – they need to think in a more humble way than if their work was for their contemporaries. What I mean is that they have to be mindful of how their work will impact on children. Characters must have convincing voices, descriptions must be good enough for children to visualise, and authors must be aware of things like children’s attention span when it comes to detailed explanations.

But perhaps even more important is an awareness of the emotional effect of a story on a child. We must always remember their hunger for hope and a bright tomorrow, the closeness and importance of relationships – how easily a world can be upset by parents, or loss of an animal or a friend – and the way in which action really does speak to children, for fantasy and adventure is part of the process of literally growing an imagination.

(If all this means nothing to you, and writing for children is just another category, then I don’t think you should bother. That’s not to say all this should operate consciously in the mind of the new writer – but that’s what a publisher seeks, and that’s what I’m looking for.)

Categories and concepts

Everyone has read about the older children’s market, and its lucrative crossover into the kind of children’s book that adults buy for themselves. I think this will continue to be a growing phenomenon – but the best books in the field will still be clear in their intent: not looking ‘over their shoulder’ at adults, but true to themselves and their subjects.

I’m sure fantasy will continue to hold a firm following – but with the best books based around character and not simply wild lands and strange people. Historical fiction is poised for a comeback for older children – showing the rich material and heritage we have in our shared everyday culture, as well as the ‘big battles’ of yore.

At last all kinds of young adult fiction has found a firm market and any number of clear voices: hard-edged, romantic, comic, or a wild mixture of all three! Both here and in the USA, the 13–18 age group is firmly established as a permanent adjunct to the children’s market, buying for themselves thrillers, dystopian adventures and books that speak to crises and concerns.

But my favourite category is the most neglected – real stories and novels for 7–9 year-olds. This was once the classic area of children’s books, with the biggest names and the greatest longevity of appeal. Sadly, it has become the haunt of derivative series and boring chapter books. But there are clear signs of revival, with bestselling stories for this age group and the slightly older 9–12 category coming thick and fast. It’s a great area for new talent; Chicken House has enjoyed many runaway bestsellers in this category, including The Girl of Ink & Stars by Kiran Millwood Hargrave (winner of the Waterstones Children’s Book Prize) and Asha & the Spirit Bird by Jasbinder Bilan (winner of the Costa Book Award).

Picture books have had a great revival – seeing off the apparent challenges of apps and new technology to reassert the love of a beautifully-produced picture story, so I expect more innovations coming here. The success of cartoon novels and graphic story treatments for older readers has shown how story and illustration can work together in amusing and stimulating ways, enticing those who are looking for something a little bit different.

Language and setting

It’s often said that, like exams, children’s books are getting easier, that the language is getting ‘younger’ while the plots are getting more sophisticated. I don’t think this is true. Certainly, for all markets, dialogue is more important than ever – and less time is taken in description. Children are used to characters who say what they mean, and whose motivations and subtleties emerge in speech. But largely I think this makes for more interpretation and imagination. Descriptions now concentrate on setting and atmosphere, rather than telling us authoritatively what the hero or heroine feels. All to the good in my view, and something new writers for children should absorb.

Also welcome in contemporary children’s books is the freeing up of the adult! These characters are no longer confined to small walk-on parts and ‘parental’ or ‘villainous’ roles. Nowadays, adults in children’s novels are as well drawn as the children, sometimes as touchingly vulnerable people themselves. But as in life, the most potent and frightening image in any children’s book remains the bad or exploitative parent.

International scope

Children’s literature is truly one of our most glorious ‘hidden exports’. British writers continue to be very successful around the world, particularly in the USA and Europe. It is worth remembering this – while setting is not so important as inspiration, obviously UK-centred plots, regional dialogue and purely domestic issues, if not absolutely necessary, are best avoided. But there is no need either – like a creaky old British film – to introduce ‘an American boy’ or mid-Atlantic slang to your work to appeal to another audience. This seldom works and is often excruciating!

The marketplace

The market still remains delightfully unpredictable. It is hopeless to look at last year’s trends and try to speculate. The sound and timelessly good advice is to find your own voice and, above all, to write from the heart. If you can touch what moved you as a child or still moves the child within you, then there’s your ‘market appeal’. Whether it’s aboard the frigate of your imagination or in the quieter but equally dangerous seas of the lonely soul, skill and inspiration will win you your readership.

So, if you’re up to the challenge, we’d love to read your story. The Times/Chicken House Children’s Fiction Competition is an annual competition – so if you’ve missed the deadline this year, never fear. The prize is a £10,000 publishing contract with Chicken House, and every short- and longlisted writer will receive an editorial report on how to make their story the best it can possibly be.

Oh, and finally, don’t give up - as I once said to a certain young woman about a boy called Harry…

Barry Cunningham OBE was the editor who originally signed J.K. Rowling to Bloomsbury Children’s Books. He now runs his own publishing company, Chicken House (see here), specialising in introducing new children’s writers to the UK and USA. Notable recent successes include James Dashner, Cornelia Funke, M. G. Leonard, Kiran Millwood Hargrave, Jasbinder Bilan, Maz Evans and Lucy Christopher. Chicken House and The Times jointly run an annual competition to find new writers; visit www.chickenhousebooks.com or see here. Barry was awarded an OBE in 2010 for services to publishing.

Breaking down the market: where does your book sit?

Author, editor and book packager Jasmine Richards provides a breakdown of the establishedmarket categories used by publishers and booksellers, to help budding authors know where their own work might fit in.

Writing for children is big business. Around 10,000 children’s books are published every year in the UK. Publishers and agents are saying that children’s books are having a renaissance. That’s despite the fact that, ten years ago, some in the industry were pronouncing the death of the printed book for young readers. We now know that parents are worried about screen time and its effects. Parents want their children to turn pages rather than swipe left. To tell the truth, adults still seem to prefer reading printed text also. There is something comforting and nourishing about the physical book and that realisation is why sales of that format will continue to increase.

So, if the children’s market is so buoyant, why is it so hard to get published? The fact is, the children’s market is a very established and mature business, and competition is ferocious. It also has some very big players who have a lot of the market share. Amazingly, the two biggest-selling authors of 2019 were children’s authors. David Walliams’ sales totalled more than £19.1m and Julia Donaldson’s £14m. According to The Bookseller both Walliams and Donaldson achieved landmark total sales last year, with Walliams surpassing £100m since he was first published in 2008 and Donaldson topping £150m.

Thrown into the mix, you also have celebrity fiction from musicians, TV personalities, YouTubers and sports stars. Then you have the perennial children’s classics that book buyers return to again and again because they are excellent stories that stand the test of time. Established adult writers have also entered the marketplace, creating books for young adults and increasing their range of readers downwards. Finally, you have several well-established series each written by a team of writers on a rapid publishing cycle (such as the Rainbow Magic and Beast Quest series). There are an awful lot of books on the shelves and, for a new book to go on, another will have to come off. Obviously, there is infinite space online – but that doesn’t help with discoverability.

In this fiercely competitive market, publishers are looking for exceptional books – novels that will stand out in this crowded arena and grab, not just the readers’ attention, but also the attention of all the gatekeepers who will encounter the book before it even reaches the bookshop. A new book needs to convince sales directors selling in and also the head buyers at the main book chains, planning their offering. The book will need to be able to hold its own; it needs to be ‘sticky’ or, in other words, memorable and really easy to pitch. People in the industry love books, but the bottom line is that publishing is a business. Each book needs to have the potential to perform, if it is going to be published and if it is going to stay in print.

So, what can an author do to give themselves the best chance? Well – write a great story! A story with characters that readers will care about. A plot that turns the pages for the reader. A world that feels real and rich. A children’s author must produce all those things, but it would be wise for them also to master an understanding of the market so they can appreciate the universe their book will operate in. There are a few ways to do this:

• Attend writing conferences or children’s book events put on by people like SCBWI (see here) where you’ll see people in the industry talking about what they are buying and why.

• Spend lots of time in bookshops and see what kind of books are on the table tops or in promotion.

• Keep an eye on what novels are winning key children’s book awards or getting a lot of reviews in the print media.

• Read publications like The Bookseller to see what is happening in the world of publishing.

• Follow authors, book publicists, agents, booksellers and editors on social media to see what they are saying about the industry.

• It’s also worth visiting libraries or talking to teachers about what books kids are reading.

• Most importantly, chat to children and ask what they are enjoying about the books they’re reading. Their answers might surprise and inspire you.

Authors also need to get an understanding of the age ranges of children’s books, a sense of word lengths for each of those age brackets, and some of the other features that are unique to certain parts of the market. Editors, including this one, can be a bit reticent when it comes to defining word counts. There is a good reason for this caginess. Books are works of art. They are an author’s creative endeavour and thus not something that will always sit neatly in predefined categories. Still, if a book is going to sit outside some of the established norms when it comes to word count, then that needs to be for a good reason.

There are also some practical considerations to do with word counts; the bigger the book, the more it costs to print, after all, but there are set price points at the different age ranges. For instance, a middle-grade book will normally have a higher price point than a book for a 5–7 year-old and the middle-grade book can take a heftier page count because the publisher can charge more for that book.

You also need to consider the reading stamina of the children at the different age ranges. If an author writes a 70,000-word book for a 7–9 year-old, when the average is 10,000–15,000 words, then they are asking an awful lot of that reader. That’s not to say that some readers won’t be up to the task, but is that extended word count really serving the story well? Is it giving the book its best chance of being published? Is it giving the child reader the best reading experience? The guidelines provided below are just that: a guide – the average word count for the different age ranges of books – but there will always be exceptions. Ultimately, a story should be as long or as short as it needs to be.

Picture books

Golden rule: keep picture book text short! Remember, the pictures will do a lot of the telling in the story. The best picture books really take advantage of that fact. Picture books are often split out into two categories:

Books for age 0–2. These will not have many words at all (300 words or fewer) but they will have very strong images that tend to relate to the everyday and familiar rather than more fantastical settings or themes.

Books for 2–5 year-olds (although older children will still get a lot out of picture books and will be reading these alongside first chapter books). These books are on average between 300 and 1,500 words, but some books might just be one word! Although short, these books need to have definite story beats, and twists and turns that will delight both the adult reader and child listener. They should explore the experiences and possible feelings that young children may be dealing with for the first time. The best picture books are those where a kind of magic happens in that space between the images and the text, and in which that interplay brings new meaning. The picture book should be a pleasure to read out loud, with rhythm but not necessarily rhyme – as this could have an impact on how well the book sells internationally. Rhyme can be pretty tricky to make work in translation, although not impossible!

Printing a book in full colour is not cheap; the publishing house that commissions the title needs to be sure that they will achieve co-editions with overseas publishers to keep printing costs down and make the book profitable. When writing a picture book, it is worth keeping the 32-page format front and centre – this roughly works out at 24 pages or 12 spreads in which to tell the story. The narrative needs to offer ample opportunity for illustration, but that does not mean the author should dictate what these illustrations might be. It is a collaboration. Part of the publisher’s role in the process of publishing a picture book is to find the perfect pairing of author and illustrator.

Younger readers

Books for readers aged 5–7. These tend to have shorter sentences and simpler diction. Some may feature chapters, and illustration can either be in colour or in black-and-white. They average between 500 and 4,000 words.

Books for readers 7–9. These are on average between 10,000 and 15,000 words but can be longer. Readers at this age will have a bit more confidence and may be devouring a lot of series fiction and enjoying the fact that they are reading whole novels. The age of the protagonists in these books will tend to be at the top end of the actual readership or perhaps even older.

Middle-grade fiction or core readers

Novels for 9–12 year-olds will be significantly longer than the previous category and average at about 30,000-40,000 words. A novel can be much longer for this age range, especially if it is a fantasy title. Whatever the number, the words should serve the story and ensure that it is being delivered in the optimal way. If the novel is going to be 80,000 words that can work, but there should be a very good reason for it.

Generally, readers in this age range have a lot more stamina. They will identify strongly with the hero, so a close third-person perspective or first-person narrative can work very well here. The protagonist tends to be aspirational and so often they are aged around 13. Readers in this age range can deal with more complex stories and themes, but a more challenging style choice might be off-putting.

Books for teenagers and YA

Books for readers aged 12+ can be anything from 30,000 words upwards. There is series fiction for teenagers, but the idea of author as the main brand is perhaps something teenagers identify with more commonly, rather than a series title. Teenagers are interested in exploring big ideas, regardless of the genre, and an author can take a few more risks with the style choice or perspective in order to help get those big ideas across.

The protagonists in these books tend to be teenagers rather than 20+ year-olds. There is also a burgeoning category – called NA or New Adult – of books which feature protagonists in their early 20s. In the UK this age range has not become firmly fixed as yet, but may well do in the future.

Jasmine Richards is an author who has written over a dozen books for children and teenagers. Her most recent novel, Keeper of Myths, is published by HarperCollins Children’s Books in the US. She is also the co-creative on the Aziza’s Secret Fairy Door series published by Macmillan. She has over 15 years’ worth of publishing experience having worked at Puffin, Working Partners and Oxford University Press as an editor and story developer. In 2019 Jasmine founded Storymix: The Inclusive Fiction Development Studio (www.storymix.co.uk), which creates series with protagonists of colour for publishers. Storymix also supports and incubates writers from minority ethnic backgrounds and offers a pathway into being published. She’s always looking for talented writers and illustrators to work with. Her author website is www.jasminerichards.com and you can follow her on Facebook and Twitter @JRichardsAuthor and @storymixstudio.

See also...

● What are children’s publishers looking for?

What are children’s publishers looking for?

Editorial director Rebecca Hill highlights the key ingredients that combine to produce a children’s book that will inspire the passion of an editor, publishing team and readers. She urges writers to focus on their craft, knowing that a great book relies on a great story, one with its own fully developed world that captures the reader from start to finish.

Stories! Each year publishers send thousands of books out into the world, into the hands of eager children, so how can you make sure your story gets to the top of a publisher’s pile? Every editor is a fan of reading, but the truth is we get sent more material than we can hope to acquire. What we are all looking for when we open up a new manuscript is a story that allows us to do what we love best… read.

It really is that simple. What I’m looking for when I start a story is to be that writer’s biggest fan. The books we publish at Usborne have all given me that feeling of wanting to shout about them from the rooftops: ‘Listen to this sentence, everybody! Turn the page and gasp, dear reader … Hide under the covers and tremble, if you dare dive into this one.’ Stepping into a world that is thoroughly developed, and has characters that live and breathe, is a feeling unlike any other. So, if a book can hook me in and make me laugh, make me cry, affect me more than anything else I’ve read that week, I know that’s the one to be passionate about. And passion is what every editor needs – first at an editorial meeting, then at an acquisition meeting and at every available opportunity after that, until that book ends up on a bookseller’s table.

As an editorial director, when I’m building Usborne’s list I’m always aware of providing a book for every reader. After all, there are lots of tastes that need catering for. But it is essential to see a company’s passion for each and every book – from the very first editorial meeting when a submission is discussed. That is exactly what is needed to make a book a success because, beyond the editor’s door, a whole team of people will need to love and champion a book: the cover designer, the sales teams, the publicist, the rights team and the marketing department. Without company-wide passion a book could disappear, but with it a book will fly, because we come together to become its superfans.

But before editors even start reading a story and becoming superfans, we make judgements based on your title. The title is the crucial ‘first sell’ of your book to the reader; I can’t emphasise enough that a title needs to work hard, and you need to work hard on making it right. As publishers, we are not looking for a set of clumsily arranged buzz words – The Secrets of the Forbidden Girl in the Magical Dragon Kingdom with Unicorns – but we are looking for a title that tells us what kind of book you are writing. Strong titles should shine a light on something about your novel, be that the character, the tone or the central interest. Great titles should make us want to know what your book is about. Great titles should make us want to read on.

After the title, the start of your story is essential. I so often find myself getting distracted from the story in front of me by a plot that doesn’t quite know where it is heading, or a character that doesn’t leap out from the pages to ensure I don’t return to the demands of office life. Make sure your opening is as strong and grabby as you can make it, without throwing the whole of the kitchen sink in there. Openings are the reason we carry on but, more importantly, they are the reason children carry on reading, and that is who we, as editors, are always thinking of when we read. Child readers are harsher than any editor, so make sure you work on making your opening as perfect as you can get it. That prologue – do you actually need it? Where should the first chapter start? Often the story gets going just before your inciting incident, so make that the kicking off point!

And carry that guiding light; ask yourself, what was it that made you want to write this book? What idea? What theme? What was it you wanted to say? What is it you want children to feel? Make sure you keep those things with you when writing and editing, and keep coming back to them, because what editors want to see, when looking for books to acquire, is authors who are in control of their material; authors who understand how their world is built and understand who their characters are; authors who will tell me at some stage of the editing process: No, no! My character would never do that, but they would do this instead.

Always, always think about your audience. The children’s book market is split into age groups, and you need to be aware of what works for those categories – what content is appropriate, what subjects appeal and what word counts are expected.

Then there’s the ending: this is another area that I often work hard on with authors. Plan where you want your story to go, and what message and emotion you want to leave the reader with. Make sure that when we finish your book we want to thrust it straight into someone else’s hands to read!

But how do publishers really decide what to publish?

There are many important things for a publisher to consider when acquiring a book. Will children love it? Will international publishing partners want to buy the rights? Does the author have many more stories to tell? If it is a series, how quickly can the author write the next book? Does this book fit the type of publishing house that we are? Is this something that is missing on our list, or is it something that the competition is doing well with? I always hope the answer to all of these questions is ‘Yes’, but the truth is, my mind is set when I’m about a third of the way through a book – because by then I have fallen in love with the story.

After that comes the editing, the positioning, the building up of the campaign, the writing of sales material, the development of a cover... These things all combine to help make a great story into a great book. Great stories will always find readers, because stories make us who we are, and help us to become what we want to be.

So, how do you make sure your book gets to the top of the editor’s pile? Focus on your craft! When the market is ever-changing, do publishers really know what trend is coming next? Can we look into a crystal ball and see what will become a bestseller? I’ll let you into a secret here: the answer is no and …erm… no. But I do know a good story, as soon as it arrives on my desk. I open it up, settle down, and then I read, and read and read – doing what every editor loves best. All I want is a story that won’t let me stop reading.

Rebecca Hill is fiction editorial director at Usborne Books. She was named Editor of the Year at the British Book Awards 2019, the first children’s editor ever to win this coveted prize. Rebecca has acquired and published bestselling authors Holly Bourne, Peter Bunzl, Sophie Anderson and P.G. Bell alongside award-winning titles such as After the Fire by Will Hill, winner of the 2018 YA Book Prize, and Kick by Mitch Johnson, winner of the Branford Boase Award 2018.

Children’s book publishers UK and Ireland

There are changes to listings in this section every year. We aim to provide a comprehensive list of publishing imprints, the name or brand under which a specific set of titles are sold by a publisher. Any one publisher might have several imprints. The imprint usually appears on the spine of a book. Imprints are included either under a publisher’s main entry or in some cases as entries themselves. Information is provided in a way that is of most use to a reader. The listings that follow are updated by the Writers’ & Artists’ editors based on information supplied by those listed.

*Member of the Publishers Association or Publishing Scotland

†Member of Publishing Ireland, the Irish Book Publishers’ Association

‡Member of the Independent Publishers Guild

Alanna Max

38 Oakfield Road, London N4 4NL

email [e-mail]

website www.alannamax.com

Publisher Ken Wilson Max, Editor-At-Large Anna McQuinn

Children’s picture books. See website for submissions guidelines. Founded 2012.

Amgueddfa Cymru – National Museum Wales‡

Cathays Park, Cardiff CF10 3NP

tel [phone]

email [e-mail]

website www.museumwales.ac.uk

Twitter @AmgueddfaBooks

Head of Publishing Mari Gordon

Books based on the collections and research of Amgueddfa Cymru for adults, schools and children, in both Welsh and English. Founded 1907.

Andersen Press Ltd*

20 Vauxhall Bridge Road, London SW1V 2SA

tel [phone] (editorial) / 020-7840 8701 (general)

email [e-mail]

website www.andersenpress.co.uk

Managing Director Mark Hendle, Publisher Klaus Flugge, Directors Philip Durrance, Joëlle Flugge, Libby Hamilton (editorial picture books), Sue Buswell (editorial picture books), Charlie Sheppard (editorial fiction), Liz White (rights)

A leading children’s publisher of picture books, fiction for 5–8 and 9–12 years and young adult fiction. Successes include the Elmer series by David McKee, the Little Princess series by Tony Ross, Who’s in the Loo? by Jeanne Willis and Adrian Reynolds, The Lonely Beast by Chris Judge, Out of Shadows by Jason Wallace and Liar & Spy by Rebecca Stead. Will consider unsolicited MSS. Include sae if response required. For novels, send three sample chapters and a synopsis only. No poetry or short stories. Do not send MSS via email. Founded 1976.

Arcturus Publishing Ltd

26–27 Bickels Yard, 151–153 Bermondsey Street, London SE1 3HA

tel [phone]

email [e-mail]

website www.arcturuspublishing.com

Editorial Manager Joe Harris (children’s)

Children’s non-fiction, including activity books, reference, education, practical art, geography, history and science. No unsolicited MSS. Founded 1993.

Aurora Metro‡

67 Grove Avenue, Twickenham TW1 4HX

tel [phone]

email [e-mail]

website www.aurorametro.com

Facebook www.facebook.com/AuroraMetroBooks

Twitter @aurorametro

Managing Director Cheryl Robson

Adult fiction, young adult fiction, biography, drama (including plays for young people), non-fiction, theatre, cookery and translation. Submissions: send synopsis and three chapters via our website: www.aurorametro.com/contact-us/submit-your-work/. Runs a biennial competition for women novelists (odd years): Virginia Prize For Fiction. Entry fee for submission of either adult or young adult novel. See website: www.aurorametro.com/VirginiaPrize. Imprints include Aurora Metro Books and Supernova Books. Founded 1996.

Award Publications Ltd

The Old Riding School, The Welbeck Estate, Worksop, Notts. S80 3LR

tel [phone]

email [e-mail]

Facebook www.facebook.com/awardpublications

Twitter @award_books

Instagram @award.books

Publishes picture story books, fiction, early learning, information and activity books from birth to 12. No unsolicited material. Please refer to social media sites for details of submission windows. Founded 1972.

b small publishing limited

website www.bsmall.co.uk

Managing Director Catherine Bruzzone, Publisher Sam Hutchinson

Activity books and foreign language learning books for 2–12 years. Written in-house. No unsolicited MSS. Founded 1990.

Badger Learning*

Oldmedow Road, King’s Lynn, Norfolk PE30 4JJ

tel [phone]

email [e-mail]

website www.badgerlearning.co.uk

Publisher Sarah Capon

Educational publishing for pupils and teachers across the curriculum, from KS3–KS5. Specialists in publishing teen fiction and books for children 7+ who are struggling or reluctant readers. Range covers high interest age/low reading age titles. Series include Teen Reads, YA Reads, Papercuts, Between the Lines, Strange Town, Snow-Man, The League of Enchanted Heroes, Full Flight, First Flight and Graphic Novels. Email for submission guidelines. Founded 2001.

Barbican Press Ltd‡

tel [phone]

email [e-mail]

website https://barbicanpress.com

Twitter @barbicanpress1

Instagram @barbicanpress

Directors Martin Goodman (managing); James Thornton

An independent micro-publisher. The list includes poetry, drama, writing for children, translations and compelling non-fiction, including issues-driven memoir and vivid tales of maritime communities. LGBTQI+ friendly. Founded 2009.

Barrington Stoke*

18 Walker Street, Edinburgh EH3 7LP

tel [phone]

email [e-mail]

website www.barringtonstoke.co.uk

Fiction for reluctant, dyslexic or under-confident readers: fiction for children 8–12 years with a reading age of 8+, fiction for teenagers with a reading age of 8+, fiction for 8–12 years with a reading age of below 8, fiction for teenagers with a reading age of below 8, non-fiction for children 8–14 years with a reading age of 8+, graphic novels. Resources for readers and their teachers. No unsolicited MSS. All work is commissioned from well-known authors and adapted for reluctant readers. Founded 1998.

Big Picture Press

Suite 1.07 The Plaza, 535 Kings Road, London SW10 0SZ

tel [phone]

email [e-mail]

website www.templarco.co.uk, www.bonnierbooks.co.uk

Twitter @BigPicturePress

Editorial Director Katie Haworth

Big Picture Press books publishes non-fiction and illustrated gift books. First publications include Mizielinski’s Maps and Katie Scott’s Animalium. Focusing on visual presentation, Big Picture Press collaborates with artists such as Chris Wormell (Planetarium) and Ximo Abadia (The Speed of Starlight). Big Picture Press is an imprint of Bonnier Books UK.

Bloomsbury Publishing Plc*‡

50 Bedford Square, London WC1B 3DP

tel [phone]

website www.bloomsbury.com

Chief Executive & Founder Nigel Newton

Bloomsbury Publishing is a leading independent publishing house with authors who have won the Nobel, Pulitzer and Booker Prizes, and is the originating publisher and custodian of the Harry Potter series. Bloomsbury has offices in London, New York (here), New Delhi, Oxford and Sydney (here). MSS must normally be channelled through literary agents, with the exception of academic and professional titles. Founded 1986.

BLOOMSBURY CONSUMER DIVISION

Managing Director Ian Hudson

Imprints include: Absolute Press, Bloomsbury Activity Books, Bloomsbury Children’s Books, Bloomsbury Circus, Bloomsbury India, Bloomsbury Press, Bloomsbury Publishing, Bloomsbury USA, Bloomsbury USA Children’s Books, Head of Zeus, Raven Books.

Bloomsbury Children’s Books

Publishing Director & International Editor-in-Chief Rebecca McNally, Publishing Director Sharon Hutton (non-fiction), Head of Fiction Ellen Holgate, Editorial Directors Zoe Griffiths (fiction), Saskia Gwinn (nonfiction)

Authors include J.K. Rowling, Louis Sachar, Neil Gaiman, Sarah J. Maas, Sarah Crossan and Brian Conaghan. No complete MSS; send a synopsis with three chapters.

Bloomsbury Education

Head of Education Helen Diamond, Editorial Director Hannah Rolls (educational fiction, poetry & digital resources), Senior Commissioning Editor Hannah Marston (education – CPD)

Publishes around 75 print titles per year: educational fiction, children’s poetry, teacher’s books, apps and digital platforms. Imprints include Bloomsbury Education, Andrew Brodie and Featherstone Education. No submissions by email. Look at recently published titles and catalogues to gauge current publishing interests. Much of the list is educationally focused and publishes in series. Allow 8–10 weeks for a response.

Bonnier Books UK*

Victoria House, Bloomsbury Square, London WC1B 4DA

tel [phone]

email [e-mail]

website www.bonnierbooks.co.uk

Ceo Perminder Mann, Managing Director Kate Parkin (adult trade), Managing Director Jane Harris (children trade)

Bonnier Books UK is owned by Bonnier Books, a family-owned company headquartered in Sweden. Bonnier Books is a top-15 world publisher. Publishes across a wide variety of genres for different ages. From crime to reading group fiction; memoir to self-help; activity to reference. Publishers of twelve imprints: adult trade (Zaffre, Manilla Press, Blink Publishing, John Blake); Children’s trade (Piccadilly Press, Hot Key Books, Templar, Big Picture Press, Studio Press). Founded 2015.

The Book Guild Ltd

14 Priory Business Park, Wistow Road, Kibworth, Leics. LE8 0RX

tel [phone]

email [e-mail]

website www.bookguild.co.uk

Facebook www.facebook.com/thebookguild

Twitter @BookGuild

Directors Jeremy Thompson (managing), Jane Rowland (operations)

Offers traditional and partnership publishing arrangements, with all titles published being funded or co-funded by The Book Guild Ltd (does not offer self-publishing). MSS accepted in fiction, children’s and non-fiction genres, please see the website for details. The Book Guild is part of parent company Troubador Publishing Ltd. Founded 1996.

Boxer Books Ltd

email [e-mail]

website www.boxerbooks.com

No unsolicited MSS in any form unless via a recognised agency. Publishes innovative baby board books, picture books, young fiction and stunning story collections. Founded 2005.

Bright Red Publishing*

Mitchelston Drive Business Centre, Mitchelston Drive, Kirkcaldy KY1 3NB

tel [phone]

email [e-mail]

website www.brightredpublishing.co.uk

Facebook www.facebook.com/BrightRedBooks

Twitter @_BrightRed

Instagram @bright_red_publishing

Directors John MacPherson, Alan Grierson

Educational publishing for Scotland’s students and teachers. Founded 2008.

Brilliant Publications Ltd*‡

Unit 10, Sparrow Hall Farm, Edlesborough, Dunstable LU6 2ES

tel [phone]

email [e-mail]

website www.brilliantpublications.co.uk

Facebook www.facebook.com/Brilliant-Publications-340005555138

Twitter @Brilliantpub, @BrillCreative

Managing Director Priscilla Hannaford

Creates easy-to-use educational resources, featuring engaging approaches to learning, across a wide range of curriculum areas, including English, foreign languages, maths, art and design, thinking skills and PSHE. No children’s picture books, non-fiction books or one-off fiction books. See Guidelines for Authors on website before sending proposal. Founded 1993.

The British Museum Press

Great Russell Street, London WC1B 3DG

tel [phone]

email [e-mail]

website www.britishmuseum.org/commercial/british-museum-press

Head of Publishing Claudia Bloch

Award-winning illustrated books for children, young readers and families,